In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon. The object and its ground both glow, but the chapel-shape is crisp and simple, reminiscent of a piece of cut paper. Like many of Therrien’s early pieces, this abstraction slips into representation and the visual and spiritual power of the image is emphasized by the strong central placement of the chapel.
Robert Therrien’s work assumes a variety of forms that transform objects through visual similarity, graphic reduction, or shifts in scale. His art, accordingly, seems embedded in the structures of experience. Therrien’s work inserts itself between the viewing subject and the external and objectified world. We see the Platonic forms of objects and shifts in scale, reminding us of our perspective and embodied engagement with the world.
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Conrad Ruiz loves to paint subjects related to the “boy zone”: video games, weapons, games, science fiction, fantasy, and special effects...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
Gabriel Orozco often documents found situations in the natural or urban landscape...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...